Piero della Francesca, Madonna with Child, Six Saints, Four Angels, and Duke Federico II da Montefeltro (Montefeltro Altarpiece) c. 1472-1474Pinacoteca di Brera, Milan
(source)
(source)
Keeping with the Xmas mode, Piero della Francesca (c.1410 - 1492) was a master of the Early Renaissance and this (unfinished) altarpiece comes from a genre of painting known as sacra conversazione in which the Madonna and Child are in conversation with the donor, in this case Duke Federico II da Montefeltro of Urbino, kneeling in his armour.
Piero's works are characterised by a tranquil feeling, as expressed through the colours and balanced vertical composition, and very precise perspective and geometry. All the figures except the donor are lined up in a slight curve around the Madonna and Child. The artist has paid particular attention to the setting of this painting: clearly taking places in the apse of a church, the way the shadow falls clearly defines a 3D space. Whether it be a garden or within a building, the ability to define a proper 3D space is common throughout Piero's works. Because the painting is unfinished, it is possible to see the very precise way Piero applies his paint as well are the lines on which the composition is based.
The altarpiece features very complicated iconography, too complicated to talk about here. But if you're interested, a basic explanation can be found here. A more complex analysis can be found on it here.
As an aside, I remember my Italian Renaissance lecturer talking about Piero and saying how some art historian (I think it was Erwin Panofsky) apparently believed that you could drive around northern Italy and see all of Piero's works that are still in situ in one day. To that, the lecturer said "I don't know what he was driving, but it sure wasn't a Fiat Uno!!!"
Piero's works are characterised by a tranquil feeling, as expressed through the colours and balanced vertical composition, and very precise perspective and geometry. All the figures except the donor are lined up in a slight curve around the Madonna and Child. The artist has paid particular attention to the setting of this painting: clearly taking places in the apse of a church, the way the shadow falls clearly defines a 3D space. Whether it be a garden or within a building, the ability to define a proper 3D space is common throughout Piero's works. Because the painting is unfinished, it is possible to see the very precise way Piero applies his paint as well are the lines on which the composition is based.
The altarpiece features very complicated iconography, too complicated to talk about here. But if you're interested, a basic explanation can be found here. A more complex analysis can be found on it here.
As an aside, I remember my Italian Renaissance lecturer talking about Piero and saying how some art historian (I think it was Erwin Panofsky) apparently believed that you could drive around northern Italy and see all of Piero's works that are still in situ in one day. To that, the lecturer said "I don't know what he was driving, but it sure wasn't a Fiat Uno!!!"
1 comment:
Lol it looks finished to me!
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